:QQ 


GIFT  OF 


TO  THE  CALL  OF  THE  FLUTE 

OF  LIFE, 
DANCE  THE  RIPPLES  ON  THE 

LAKE  OF  LOVE; 
SOULS  SEEK  THEIR  MATES,  AS 

THE  BEE  THE  LOTUS 
TO    DRINK    THE    HONEY   OF 

BLISS  FROM  ITS  ETERNAL 

HEART. 


LAYLA-MAJNU 


A  MUSICAL  PLAY 
IN  THREE  ACTS 


DHAN  GOPAL  MUKERJI 


WITH  AN  INTRODUCTION 

BY  PROFESSOR  ARTHUR  UPHAM  POPH 

UNIVERSITY  OF  CALIFORNIA 


PAUL  ELDER  &  COMPANY 

PUBLISHERS      •      SAN  FRANCISCO 


Copyright,  igi6 

By  PAUL  ELDER  &  COMPANY 
SAN  FRANCISCO 


To 
MRS.  FLORENCE  STABLER  BLACKMAN 


f>$3 

U3/-3 
(Ilk 


332741 


Introduction 

ber  infinite  services  to  civilization, 
India  remains  to  the  western  world  something 
of  a  mystery.  India ,  the  mother  of  religions,  the 
founder  of  sciences,  with  an  art  both  opulent  and 
spiritual,  a  culture  unique  and  incredibly  rich,  is 
still  for  most  of  us  a  romantic  fable,  without  substance 
and  without  meaning.  Tb  capture  something  of  the 
flavor  of  this  extraordinary  people  and  to  present  it 
with  vividness  and  charm  is  a  worthy  and  important 
service  —  nay,  more,  is  an  achievement  of  art  as 
well,  for  it  seems  to  be  an  essential  of  art,  and  one  of 
the  sources  of  its  power,  that  it  comprehends  the  inner 
life  of  a  people,  its  experiences,  faiths,  ideals,  and 
gives  to  them  eloquent  and  moving  expression,  appeal 
ing  to  sense  and  emotion  as  well  as  to  understanding. 
Such  an  achievement  is  Mr.  Mukerji's  in  this  exotic 
little  play  which  might  fairly  be  called  "A  Vision  of 
India . ' '  From  the fabulously  rich  treasury  of  Indian 
culture,  he  has  refashioned  in  an  original  and  per 
sonal  way  a  characteristic  jewel,  having  the  richness, 
the  luster,  the  strange  play  of  shifting  colors  that  has 
made  India  a  synonym  for  romantic  magnificence. 
In  addition  to  this  visual  splendor  Mr.  Mukerji  has, 
with  many  vivid  suggestions  that  kindle  the  imagi 
nation,  presented  some  essential  aspects  of  the  many- 
sided  Indian  life  —  emotion,  intense  but  sincere  and 
refined;  love,  fervid  and  imaginative;  genuine  and 
exalted  chivalry;  the  steady  and  universal  pressure 

[v] 


Introduction 

of  spiritual  aspiration;  the  soul-transforming  power 
of  religion,  with  its  ideal  of  utter  selflessness  —  all 
contrasting  gratefully  with  some  traits  of  our  western 
world,  with  its  rather  hard  directness,  with  the  thin 
ness  and  frequent  crudity  of  its  emotional  life,  with 
its  religion  so  often  verbal,  conventional,  impotent. 
Of  course  there  are  profound  and  heroic  features  of 
Indian  life  that  are  not  here  revealed — intellectual 
subtlety,  sublime  patience  in  suffering — but  the  first 
allegiance  of  the  artist  is  to  beauty,  and  he  must  not 
jeopardize  cesthetic  unity  for  the  sake  of  sociological 
comprehensiveness. 

But  Mr.  Mukerji  has  given  us  more  than  a  scene 
out  of  Indian  life;  he  has  transmitted  something  of 
its  cesthetic  genius.  Not  only  is  there  here  much  of 
the  tone  of  the  great  Indian  classics,  but  something 
of  the  spirit  of  them  is  transmitted  in  a  way  that  wins 
the  favor  and  sympathy  of  the  reader  of  a  wholly 
different  cultural  background.  This  is  a  consider 
able  and  none  too  common  achievement,  for  the 
cesthetic  genius  of  any  people  of  genuine  individu 
ality  is  sensitive,  and  is  frequently  unable  to  survive 
in  the  process  of  translation.  'The  great  classics  of 
a  remote  culture  like  India  s  when  overturned  into 
English,  are,  unless  the  translator  have  rare  power, 
apt  to  seem  dull  and  fantastic.  For  those  of  us  who 
are  not  attracted  to  these,  a  capital  introduction  to 
them  and  a  fair  appreciation  of  the  spirit  of  the 
foreign  culture  may  be  acquired  through  literary 
works  written  in  our  own  tongue  by  writers  born  into 
the  ancient  culture,  nourished  on  its  traditions,  dis- 

[VI] 


Introduction 

ciplined  in  its  ideals,,  but  at  the  same  time  thoroughly 
familiar  not  only  with  our  speech  idiom  but  with  our 
intellectual  and  emotional  idiom  as  well.  Mrs. 
Sarojini  Naidus  exquisite  lyrics  in  "tfhe  Golden 
Threshold"  were  written  in  English;  they  are  excel 
lent  English  poetry,  but  the  soul  of  India  has  spoken 
through  them,  and  those  who  are  left  indifferent  by 
translated  Indian  originals  are  often  kindled  into 
ardent  enthusiasm  through  these  poems.  It  is  this 
double  success  of  a  rare  and  important  kind  that 
Mr.  Mukerji  appears  to  me  to  have  achieved. 

ARTHUR  UPHAM  POPE. 


Berkeley ,  California 
March  /j,  1916. 


[VII] 


DRAMATIS  PERSONAE 

MAJNU CROWN  PRINCE 

LAYLA His  BELOVED 

MOBARAK AN  ARAB  ADVENTURER 

SHAH  ALAM PRETENDER,  BROTHER  OF  MAJNU 

JESTER 

LUTFA  UNNISHA A  DANCING  GIRL 

COURT  SINGER 

SLAVE  GIRL FREED  BY  MAJNU 

EUNUCHS  (ABYSSINIAN  AND  ARAB) 

SLAVE  GIRLS 

DANCERS  (MEN  AND  WOMEN) 

HERALD,  MEN  AND  WOMEN,  DERVISHES,  ETC.,  ETC. 

NOTE.— Throughout  the  first  act  Majnu  is  disguised  as  a  beggar. 


ix] 


LAYLA-MAJNU 


ACT  I. 


CENE:  In  the  background  a 
stretch  of  green  meadow- 
land^  on  the  hither  side  of 
which  is  a  small  lake. 
Gold,  saffron,  violet  and 
pink  sunbeams  from  the 
right,  dance  and  sparkle  on 
the  lake  surface.  In  the 
foreground,  to  the  left,  is  a 
small  white  house  of  Moorish  architecture,  with  red 
roof,  and  dark  entrance  that  is  open.  'There  is  a 
window  of  a  lesser  black  shade  which  also  is  open. 
The  interior  of  the  house,  except  for  glimpses  of  its 
cool  white  walls,  is  hardly  visible.  In  the  middle  of 
the  foreground  is  a  clear  yellow-white  paved  yard, 
supposedly  attached  to  the  house.  Behind  it  is  a 
flight  of  marble  steps  leading  down  to  the  lake.  To 
the  right  are  pathways  that  lead  from  without  and 
end  in  the  yard. 

As  the  curtain  rises,  from  within  the  house  are 
heard  snatches  of  sad  Oriental  melodies,  sung  with 
string  accompaniment.  The  melodies  express  the 
soul  of  a  young  woman  who  is  hungry  for  more 
life.  It  is  hunger  for  something,  though  unknown, 
yet  closely  related  to  the  heart.  They  should  also 
express  a  sense  of  restraint  and  dignity.  After  a 

[31 


Layla-Majnu 

while  :hc  singing  ceases;  only  the  stringed  instrument 
is  heard,  as  if  moaning. 

[  Now,  walking  to  the  rhythm  of  the  sad, 
sweet  music,  enter  four  women  R.,  one 
after  the  other,  carrying  their  -pitchers  on 
their  heads.  They  are  barefooted  and 
wear  many-colored  Oriental  costumes. 
Their  ornaments  consist  of  bangles,  ear 
rings  and  jingling  anklets.  Slowly,  one 
after  the  other,  they  go  down  the  steps  to 
the  lake.  As  they  fill  their  pitchers 
[  unseen  by  the  audience  ]  they  sing. 
The  gurgle  of  the  water  is  blended  with 
the  music.} 
THE  SONG: 

Singing,  we  scoop 

The  limpid  pool; 

The  sun's  weary  smile, 

Like  love's  wile, 

Silently  our  heart-strings  pull. 

The  pale  lonely  star, 

Her  glances  afar, 

Vainly  seeks  on  earth 

For  her  lover's  heart 

That  fell  from  heaven's  bower. 

The  gold  and  red  sun  sets; 
The  bird  seeks  her  nest; 
The  pool  silently  lies 

ui 


Layla-Majnu 

Under  stellar  eyes 

Listening  to  the  sun's  last  sighs. 

[  After  the  song  ceases,  the  mingled  noise  of 
their  conversation  is  heard.  They,  carry 
ing  their  pitchers  on  their  heads ',  come  up 
the  steps.] 

FIRST    WOMAN 

Shall  I  call  Layla? 

SECOND    WOMAN 

No;  let  us  sit  down  here  for  a  few  minutes. 

THIRD    WOMAN 

Come,  we  would  better  go.     Someone  may  come. 

FOURTH    WOMAN 

There  is  no  harm  if  we  rest  awhile. 

[  They  put  their  pitchers  on  the  first  step, 
and  squat  by  them  on  the  ground,  facing 
the  audience.] 

THIRD    WOMAN 

I  shall  have  to  be  home  soon. 

FIRST    WOMAN 

Why?     Is  your  husband  back? 

[5] 


Layla-Majnu 

THIRD   WOMAN 

Yes  (petulantly).    He  is  back. 

FOURTH    WOMAN 

I  hear  he  has  made  enough  money,  last  caravan 
trade,  to  take  another  wife. 

THIRD    WOMAN 

Not  much;  but  enough  to  buy  Mania. 

SECOND    WOMAN 

Mania!     Is  she  very  young? 

FIRST   WOMAN 

That  is  why  he  wants  her. 

THIRD  WOMAN  [  Angrily  ] 

Why?  Am  I  so  old?  Am  I?  There  are  days 
yet  for  me.  He  will  yet  have  to  pray  at  my 
feet  for  many  days.  I  am  a  Tartar! 

FIRST    WOMAN 

Tartar?     Sing  a  Tartar  song. 

SECOND  AND  FOURTH  WOMEN 

Yes,  yes;  sing  one,  please. 


Layla-Majnu 

THIRD    WOMAN  [Smiling] 

But  you  will  have  to  dance. 

FOURTH    WOMAN 

I  do  not  know  the  Tartar  dance. 

THIRD   WOMAN 

You  three  dance;  jingle  your  anklets;  I  will  sing. 
Dance  like  fire;  that  will  do. 

FIRST    WOMAN 

Someone  may  come. 

SECOND  AND  FOURTH  WOMEN    r  <-f0^ef^er  ] 

We  should  not  mind.     Sing,  sing. 

[  They  take  hands,  stand  up,  go  toward  the 
house,  stop  near  it,  then  turn  around 
facing  R.,  and  wait  for  the  music  to  begin.} 

THIRD  WOMAN  [Amused] 

Oh,  that  will  not  do.  Two  come  here;  one  stay 
there.  In  Tartar  we  do  not  dance  as  here.  We 
dance  as  if  we  were  going  to  die.  We  dance 
like  warriors.  Ah,  you  do  not  know  how  great 
Tartar  is! 


Layla-Majnu 

[  The  FIRST  WOMAN  and  the  FOURTH  come 
R.,  turn  round,  then  stand  facing  the 

SECOND   WOMAN   L.       The  THIRD   WOMAN 

sings  with  full  accompaniment.  ] 
SONG: 

The  lion  has  ceased  roaring; 

The  stars  set,  one  by  one; 

The  dawn  drives  away  the  night's  hosts 

As  ye  shall  your  enemy,  heroes  of  our  Tartar  clan. 

Haste,  haste,  arise  from  your  couch  of  sleep; 

Don  your  ring  armor,  iron  and  gold; 

Shoulder  your  spears;  blow  your  trumpets; 

Rush,  rush,  ye  lion-sons  of  Tartar,  noble  and  bold ! 

[  This  dancing  must  resemble  a  war  dance. 
As  a  rule,  Tartars,  both  men  and  women, 
are  warlike.  As  they  cease  dancing,  from 
without  is  heard  a  short  Oriental  air, 
played  on  a  flute.] 

FIRST  WOMAN  [Hearing  the  flute] 
Let  us  go;  someone  is  coming. 

[  They  lift  their  pitchers.     Exeunt  R.] 

[  The  flute  keeps  on  playing.  Enter  stealth 
ily  R.,  MOBARAK  and  SHAH  ALAM;  the 
former  is  copper-brown  and  tall,  while  the 
latter  is  ivory-complexioned,  with  dark, 
cruel  eyes  and  black  hair.  SHAH  ALAM 
is  of  medium  stature.  They  speak  in 

[8] 


Layla-Majnu 

earnest    whispers    till   the  flute-playing 
ceases.} 

MOBARAK  [Aloud] 

He  will  die. 

SHAH    ALAM 

How  did  you  learn  of  that? 

MOBARAK 

There  is  a  slave  girl  in  the  palace,  who  is  my 
mistress;  she  tells  me  that  his  days  are  done. 

SHAH    ALAM 

Where  is  Majnu? 

MOBARAK 

The  Crown  Prince? 

SHAH    ALAM  [  AngrUy  ] 

Yes,  my  brother. 

MOBARAK 

No  one  knows;  some  say  he  is  with  the  women 
and  the  dancing  girls. 

SHAH    ALAM 

Let  him  have  all  the  women  and  the  wine  he 

[9] 


Layla-Majnu 

wants;  his  days  are  numbered.     By  Allah,  he 
will  pay  for — 

MOBARAK 

Sh — h — !    They  say  he  disguises  himself 

SHAHALAM  [Mystified] 

Disguises? 

MOBARAK 

He  disguises  himself  as  a  beggar,  and  goes  about 
the  Capital. 

SHAH    ALAM 

Ha,  ha!    Just  like  him! 

MOBARAK 

No;  they  say  he  is  looking  for  someone. 

SHAH    ALAM 

What?    Looking  for  me? 

MOBARAK 

No,  no.  No  one  knows  that  you  are  here.  Every 
one  thinks  that  you  are  governing  your  prov 
ince,  far  away. 

SHAH    ALAM 

Let  them  think  as  they  like.     They  do  not  know 


Layla-Majnu 

me.  Even  if  I  am  far  away,  yet  I  know  every 
thing  that  is  happening  in  this  Capital.  Ha! 
Let  Majnu  prowl  about  as  a  beggar.  He  can 
never  know  what  I  am  going  to  do  next. 
Bismillah!  If  I  do  not  make  him  the  beggar 
that  he  is  playing  now,  my  name  is  not  Shah 
Alam.  I  will  have  the  kingdom;  the  whole 
empire.  I  will  walk  to  the  throne  over  Majnu's 
dead  body! 

MOBARAK 

[  A s  if  to  restrain  him  ] 
What  do  you  wish  me  to  do  now? 

SHAH    ALAM 

[  'Taken  aback;  then  suddenly :  ] 
Kill  him. 

MOBARAK 

Whom — your  father? 

SHAH    ALAM 

Yes;  kill  the  Emperor.     No,  poison  him. 

MOBARAK 

Poison  him? 

SHAH    ALAM 

Yes;  poison  him. 


Layla-Majnu 

MOBARAK 

No;  never! 

SHAH    ALAM 

Why  not,  you  coward? 

MOBARAK 

Coward!  Never  dare  you  call  an  Arab  coward 
again.  I  will  not  poison  him.  If  I  want  to  kill 
him,  I  will  stab  him.  Poisoning!  I  leave  that 
to  cowards  and  women. 

SHAH    ALAM 

Come;  you  must  kill  him. 

MOBARAK 

Kill  a  dying  man?  A  man  whom  I  have  served 
so  well 

SHAH    ALAM 

And  who  had  you  flogged  in  a  crowded  bazaar! 

MOBARAK 

[  Snatches   at  his    dagger,    then    restrains 

himself.] 

No!  no!  I  cannot  kill  him.  Why  should  I  kill 
him?  He  is  dying;  let  him  pass  away.  He 
hasn't  harmed  you.  He  is  old  and — 

[12] 


Layla-Majnu 

SHAH    ALAM 

You  won't  do  it,  then? 

MOBARAK 

No 

[  Footsteps  and  a  voice  are  heard  without  R.] 

SHAH  ALAM  [Agitated] 

Come;  let  us  away. 

[  Exeunt  R.  by  pathway.} 

[  If  should  be  noticed  now  that  the  sunbeams 
have  flickered  away;  twilight  has  set  in. 
Enter  R.  by  another  pathway ,  MAJNU  and 
jester-attendant.  They  are  in  haste,  and 
pant  for  breath.] 

JESTER 
Oh,  what  a  chase! 

MAJNU 
You  ran  so  fast. 

JESTER 

You  ran  so  slow. 

MAJNU 

Did  you  observe  how  I  ran? 


Layla-Majnu 
JESTER 

Certainly  I  did;  you  ran  like  a  mad  dog.     [  With 
excitement]  Hush — sh!    Look  at  the  shadows. 

MAJNU 

Are  they  coming  this  way? 

JESTER 
No.     I  know  them,  it  seems. 

MAJNU 

Who  are  they? 

JESTER 

One  seems  to  be  Shah  Alam  and  the  other  an 
Arab. 

MAJNU 

Shah  Alam!     How  could  he  be  here? 

JESTER 
Why? 

MAJNU 

He  is  far  away,  ruling  his  province.     He  is  the 
viceroy  of  Maust.     That  cannot  be  he. 

JESTER 

That  cannot  be  he?     It  must  be  his  ghost,  then. 
I  wonder  if  the  Arab  is  a  ghost  too. 

[HI 


Layla-Majnu 

MAJNU 

Stop!     [  Looks  at  the  right  intently  for  some  time.} 
No 

JESTER 

Are  you  looking  at  the  star  of  your  birth? 

MAJNU 

I  am  looking  at  the  star  of  your  death. 

JESTER 
I  wish  you  could  find  it. 

MAJNU 

[  Not  paying  any  attention  ] 
Did  you  see  Layla  today? 

JESTER 

No. 

MAJNU 

What  did  you  do  with  my  letter? 

JESTER 
I  left  it  there.     [  Points  at  the  doorstep  of  the  house  ^ 

MAJNU 

Ah,  the  wind  might  have  blown  it  away.     Why 
did  you  do  that? 

[151 


Layla-Majnu 
JESTER 

Because  she  won't  see  the  face  of  any  man  but 
the  beggar's.  Since  I  am  no  beggar,  I  left  it 
there — 

MAJNU 

Ah,  she  will  see  me  now.  Layla,  Layla,  how  I 
love  her!  Layla,  I  am  a  beggar  today — beggar 
at  your  door.  For  your  sake,  I  will  remain  a 
beggar  forever. 

JESTER 

For  her  sake  Shah  Alam  will  do  that.  He  will 
kindly  take  the  throne. 

MAJNU 

What  are  you  talking  about?    Aren't  you  happy? 

JESTER 
Surely,  I  have  to  be,  for  your  brother's  sake. 

MAJNU 

You  wretch!     Can  you  not  let  him  alone? 

JESTER  [  Pleasantly  ] 

But  he  won't  let  you  alone.  If  he  takes  the 
throne  from  you  and  then  your  life,  what  will 
happen  to  me? 

[16! 


Layla-Majnu 
MAJNU 

I  will  employ  you  as  my  jester. 

JESTER 
Jester  in  hell?     No,  I  have  lived  in  it. 

MAJNU 
Lived?- 

JESTER 

I  have  my  hell  here;  I  live  with  kings  and  princes. 

MAJNU 
Yes,  the  court-life  is  truly 

JESTER 

But  I  love  the  court.  Your  Highness,  do  give  up 
this  madness.  This  woman  is  a  witch,  like  the 
rest.  She 

MAJNU 
How  dare  you? 

JESTER 

I  am  thinking  of  your  life.  Shah  Alam,  I  tell 
you,  will  take  your  life.  The  court  —  what 
will  the  court  be 


Layla-Majnu 
MAJNU 

Court?  [meditatively]  Court,  throne,  kingdom,  the 
empire  —  what  are  they  worth  ?  Let  Shah 
Alam  have  them  all.  I  want  Layla.  Ah, 
Layla!  how  I  love  her!  I  will  give  Shah  Alam 
the  whole  world;  but  give  me  Layla.  For  her 
sake  I'll  be  a  lifelong  beggar. 

JESTER 
You  are  moon-struck. 

MAJNU 

I  am  struck  by  the  beauty  of  Layla's  moon-face. 
Layla,  my  Layla 

[  Same  voice  as  before  is  heard  from  within 
the  house ,  sadly  singing,  The  JESTER 
takes  MAJNU  by  the  arm  and  drags  him 
off  stage  R.  Enter  Layla  L.;  she  comes 
out  of  the  house.  She  is  a  model  of 
Oriental  beauty.  There  is  a  deep  look  in 
her  face.  In  the  slowly  fading  twilight 
her  face  is  like  a  rose  veiled  by  a  thin  mist, 
that  instead  of  blurring  one's  vision 
enhances  the  beauty  of  the  object  seen. 
She  is  dressed  in  green,  and  wears  ver- 
million  slippers.  It  should  be  noticed 
that  she  wears  no  anklets.  Layla  walks 
to  the  steps  and  seats  herself  on  the  first 
one,  facing  the  audience.  She  stops  sing- 

[18] 


Layla-Majnu 

ing  as  she  takes  out  of  the  pitcher  a  letter 
and  reads  it.     Then,  folding  it,  slips  it 
underneath  her  robe,  as  if  to  preserve  it 
next  to  her  heart.} 
She  sings: 

I  fell  asleep, 

Hearing  melody 
That  fell  from  lip  to  lip: 

The  stars  sang  it 
To  the  wind,  that  took  it 

To  the  rose  shivering  in  the  cold  of 

night; 
The  rose  gave  it 

To  the  nightingale,  who  sang  it 
Back  to  the  stars,  the  earth,  and  sea; 

And  I,  to  it  listening, 
Fell  asleep,  dreaming. 

[  During  the  last  lines,  she  takes  the  pitcher 
and  goes  down  the  steps.  The  last  notes 
end  with  a  gurgle  of  the  water  brought  out 
with  emphasis  by  the  orchestra.  Enter 
JESTER  from  R.,  crawling  on  his  stomach. 
He  goes  near  the  steps  and  peeps  at  Lay  la. 
As  MAJNU  starts  to  sing  without,  R.,  the 
JESTER  hurries  of  R.  Hastily  LAYLA 
comes  up  the  steps  with  a  full  pitcher. 
Hurrying  into  the  house,  she  shuts  the 
door.] 

[  Enter  MA]N\jfrom  R.y  dressed  as  before,  in 
beggar  costume.  He  is  singing.] 


Layla-Majnu 

The  night  weaves  her  mystery, 

The  moon  mounts  her  starry  height; 

The  birds  dream  dreams, 
And  I  seek  your  smile. 

MAJNU 
[  Going  to  the  door  at  the  end  of  the  song.] 

Hail,  Peace!    Allah  ho  Akbar!     Give  alms  to  the 
Fakeer. 

[  The  door  opens,  revealing  LAYLA'S/^.] 

LAYLA 

[  Almost  unable  to  speak.] 
Fakee ! 

MAJNU 

Give  the  Fakeer  something  to  eat. 

[  Lay  la  goes  in,  leaving  the  door  half  open.] 
MAJNU  sings: 

I  have  seen  you  at  spring  morn 
In  autumn's  golden  garb— 

[  Enter  LAYLA  wi'th  a  large  basket  full  of  rice. 
MAJNU  sits  by  the  doorstep  and  spreads 
his  cloth.  LAYLA  slowly  pours  the  rice  in 
a  half  bending  posture.  (Exquisite  music 
from  now  on  should  interpret  the  rest  of 
this  scene.}  They  look  at  each  other. 
The  rice  keeps  on  falling.  They  are 

[201 


Layla-Majnu 

simply  entranced  by  each  other  s  eyes. 
The  twilight  fades.  'The  stage  darkens. 
There  is  no  more  rice  in  the  basket.  It 
has  run  empty,  and  over-filled  MAJNU'S 
cloth,  then  has  fallen  out  about  him.  As 
LAYLA  suddenly  becomes  conscious  of 
what  has  happened,  the  basket  nearly  falls 
from  her  hands.  She  is  half  dismayed 
yet  partly  conscious.  The  basket  drops 
from  her  hands.  She  rushes  into  the 
house  and  shuts  the  door.  MAJNU  stands 
up  as  if  to  follow  her.  The  rice  falls  all 
about  him  from  the  cloth.  The  shadows 
tremble,  as  if  in  deep  emotion,  as  the  moon 
is  seen  rising  in  the  background^ 

[  CURTAIN  ] 


[21] 


ACT  II. 

SCENE:  A  chamber  —  spacious  —  in  one  of  the 
wings  of  the  palace.  'The  white  walls  support  a 
multi-colored  ceiling.  The  ceiling  is  a  network  of 
lines:  blue,  purple,  gold  and  green.  In  the  back  are 
tall  Moorish  windows  hung  with  rose-colored  cur 
tains.  The  windows  afford  a  glimpse  of  a  garden 
in  the  center  of  which  is  a  pool.  There  dance  torrents 
of  light  shed  by  the  full  moon  at  her  zenith.  The 
floor  of  the  chamber  is  covered  with  precious  Oriental 
rugs,  except  a  part  of  the  foreground  reserved  for 
dancing.  There  is  a  cream-colored  divan  near  the 
window,  piled  high  with  cushions.  Next  to  it  are 
two  other  divans  of  pink  and  orange.  The  chamber 
is  lighted  by  three  huge  crystal  chandeliers  hung  from 
the  ceiling  with  silken  ropes.  The  curtain  rises. 
The  stage  is  empty  for  a  moment. 

[  Enter  two  slaves,  one  an  Abyssinian,  the 
other  an  Arab.  They  take  the  cushions 
from  the  divans  and  scatter  them  in  the 
shape  of  a  crescent,  with  the  cream-colored 
divan  as  its  center.  As  they  finish  arrang 
ing  the  cushions,  they  start  to  go;  they 
collide.] 

ABYSSINIAN      [  Raising  fa  fa(] 

Jahannam! 

[M] 


Layla-Majnu 

ARAB  [Recoiling] 

Bismillah! 

[  Takes  the  dagger  that  was  suspended  from 
his  belt.  They  scowl  at  each  other. 
Exeunt  L.] 

[  Enter  R.>  a  SLAVE  GIRL,  carrying  red  roses 
in  a  large  white  basket.  With  great  deli 
cacy  and  taste  she  scatters  roses  about  the 
place.  She  is  humming  an  Oriental  air. 
The  orchestra  accompanies  and  describes 
her  action  and  song  so  far  as  it  can  be 
called  a  song.  Enter  another  SLAVE  GIRL 
with  yellow  Champaks  or  aromatic  flowers 
of  a  similar  color.  She  also  follows  the 
movement  of  the  FIRST  GIRL  and  scatters 
flowers.] 

[  Enter  two  more  SLAVE  GIRLS  bearing  wine 
and  glasses.  The  wines  are  in  various 
bottles  on  one  tray  and  the  many-colored 
glasses  on  another  tray.  They  put  their 
trays  near  the  windows] 

[  All  the  SLAVE  GIRLS  wear  as  few  garments 
as  possible.  The  FIRST  ONE  is  dressed  in 
green  satin  ornamented  with  gorgeous  red 
stripes;  the  SECOND  wears  a  scarlet  dress 
striped  with  blue  and  violet;  the  THIRD 
wears  a  garment  of  pink  with  folds  of 
yellow,  and  the  LAST  wears  a  rainbow- 
colored  garment.  After  they  scatter  the 


Layla-Majnu 

flowers  and  put  down  the  wine,  they  dance. 
Exeunt  R.  at  the  end  of  dance.] 

[  Enter  MOBARAK  stealthily  L.     He  whistles. 
Enter  FIRST  SLAVE  GIRL  R.} 

FIRST    SLAVE    GIRL 

Ah,  Mobarak!        [  Goes  to  him,  arms  outstretched  ] 

ARAB  [  Embracing  her  ] 

What's  the  news  ? 

FIRST    SLAVE    GIRL 

They  will  kill  you.     Why  have  you  come  here? 

ARAB 
But  I  saw  two  men  here,  arranging  the  cushions. 

FIRST    SLAVE    GIRL  [  Giggling  ] 

They  are  eunuchs. 

ARAB 

Eunuchs!     Can  eunuchs  get  angry? 

FIRST    SLAVE    GIRL 

Eunuchs   are  everything  here.     They  whip   the 
slave   girls;   they   kill   one   another;   they   are 

[24] 


Layla-Majnu 

beasts.     {Footsteps  without  R.]     You  must  go 
away.     They  will  kill  you,  if  they  see  you  here. 

ARAB 

Ah,  woman!    Who  can  kill  Mobarak,  the  Arab? 
Tell  me  how  he  is. 

FIRST    SLAVE    GIRL 

He  may  die  at  any  moment.     Go!     Run  away! 

ARAB 

[  Holding  her  in  his  embrace  ] 
One  word  more,  my  heart.     Where  is  Majnu? 

FIRST  SLAVE  GIRL     [  Ecstatically  ] 

I  don't  know.     [Embracing  bim.}     Go!     He  will 
be  here  soon.     Go. 

ARAB 
I  will.     So 

[  Exit  L.] 

[  Exit  FIRST  SLAVE  GIRL  R.] 

[  From  a  distance  without  L.  is  heard  a  flute , 
playing  in  the  same  fashion  as  in  Act  /., 
only  it  is  a  little  more  melancholy  now. 
Enter  FOUR  AMIRS  L.  They  are  young; 
dressed  according  to  the  customs  of  their 

[25] 


Layla-Majnu 

respective  Amirets.  The  FIRST  one  is 
dressed  in  white  silken  flowing  robes ,  with 
a  mitre  of  yellow  as  a  head-dress.  'The 
SECOND,  yellow-white  loose  costume  of 
western  Kabul.  He  has  a  yellow-green 
turban  mounted  with  a  diamond  at  the 
front.  The  THIRD  is  dressed  like  a 
Eokharan.  He  has  a  red  fez,  and  a  red 
cloak  of  velvet,  and  a  white  pyjama.  His 
cloak  is  embroidered  with  gold.  The 
FOURTH  ARAB  is  wearing  a  white  costume. 
All  four  men  have  pearl-studded  shoes. 
As  they  enter  >  they  take  off  their  shoes. 
Enter  a  EUNUCH.  He  goes  out  with  the 
shoes.] 

FIRST    AMIR 

Have  you  heard  anything  new? 

SECOND    AMIR 

No.     The  emperor  is  well,  it  seems. 

THIRD    AMIR 

You  cannot  tell.     All  these  false  reports 

FIRST   AMIR 

Yesterday,  when  I  saw  him,  he  did  not  seem  so. 
[  A s  they  sit  down,  the  flute  ceases  playing 
without '.] 

[261 


Layla-Majnu 

FOURTH    AMIR 

They  say  Shah  Alam  is  here  in  disguise. 

SECOND    AMIR 

Now  he  can  put  his  ability  to  the  test. 

FIRST   AMIR 

How? 

SECOND   AMIR 

Start  a  rebellion.  Majnu  is  always  busy  with 
these.  [  Points  to  wine  and  flowers.} 

THIRD    AMIR 

Majnu  is  not  a  fool.  He  appears  to  be  immersed 
in  these;  but  I  tell  you,  he  is  more  crafty  than 
that  brother  of  his. 

FOURTH   AMIR 

Shah  Alam  is  not  good  to  be  the  emperor. 

FIRST   AMIR 

He  is  cruel.  He  is  a  savage.  Majnu  and  he  are 
both  capricious;  but  Majnu  has  a  kind  heart. 

THIRD   AMIR 

A  kind  heart  in  a  ruler  always  leads  to  fatality. 

[27] 


Layla-Majnu 

A  cruel  ruler  personally  is  safe.     But  a  kind 
one  —  never. 

SECOND    AMIR 

Yes;  kind  persons  always  suffer 

[  They  rise  as  they  see  MAJNU  enter  R., 
followed  by  TWO  DANCING  GIRLS,  Theu 
comes  a  MAN  DANCER  followed  by  TWO 

OTHER  WOMEN.       The  FIRST  TWO  WOMEN 

are  dressed  in  purple,  orange,  green 
and  blue.  Their  bosoms  are  half  covered 
and  they  are  barefooted.  MAJNU  wears  a 
pale-yellow  robe,  and  a  large  carbuncle- 
studded  turban.  He  wears  gold-embroid 
ered,  pearl-studded  shoes.  He  does  not 
take  them  of.  The  NEXT  TWO  DANCING 
GIRLS  are  dressed  in  pink  and  saffron  of 
cooler  shades.  They  wear  very  few  jewels. 
The  MAN  DANCER  wears  pink  trousers 
only.  He  is  bronze  in  complexion,  and 
has  good  features.  His  long  black  hair 
•  falls  fantastically  about  his  shoulders. 
The  DANCING  GIRL  that  follows  him  is 
dressed  in  shining,  black,  gauzy  silk. 
There  is  a  large  purple  amethyst  on  her 
bosom,  and  a  girdle  of  pearls  interspersed 
with  diamonds  and  a  few  emeralds.  A 
short  strand  hangs  down  to  her  knees  in 
front  of  her.  The  end  of  this  string  has  a 
huge  dazzling  diamond  set  next  to  a 

[28] 


Layla-Majnu 

medium-sized  emerald.  On  her  wrists  she 
wears  bangles  of  thin  gold,  polished  to 
sparkle.  On  the  backs  of  her  hands  she 
wears,  tied  with  heavy  strings  of  moon 
stone,  two  large  topazes.  On  her  insteps 
she  wears  two  large  chrysolites  surrounded 
by  beads  of  lapis  lazuli,  and  tied  there 
with  strings  of  turquoise.  She  wears 
chain  bracelets  on  her  upper  arms,  studded 
with  immense  opals.  Her  deep  dark  hair 
is  dressed  with  careful  negligence.  Just 
above  her  forehead  a  very  large  diamond  is 
pinned  to  the  hair.  Next  to  it  are  two 
strings  of  pearls  coming  down  on  her  tem 
ples,  then  reaching  almost  to  the  corners 
of  her  red  mouth.  She  must  be  slow  to 
enter  after  those  who  precede  her.  'There 
is  a  noise  of  mingled  exclamations  as 
MAJNU  enters.  The  first  four  DANCING 
GIRLS  and  THE  MAN  go  and  stand  by  their 
respective  cushions.  THE  AMIRS  salute 
MAJNU.  He  looks  back  for  the  LAST 
GIRL,  who  is  slowly  entering.} 

MAJNU 

Lutfa,  come  sit  by  me. 

[  She  goes  toward  him;  he  takes  her  left  hand 
with  his  right,  and  leads  her  to  the  divan. 
She  sits  down.  Consternation  among  the 
rest  of  them.} 

[29] 


Layla-Majnu 

MAJNU 

[  Standing  before  the  end  of  the  divan  and 
facing  the  rest.] 

Be  seated.  Amirs.     Dance,  my  man  and  my  girls. 

[  He  seats  himself  beside  LUTFA.  THE 
AMIRS  take  their  seats.  'The  dancing 
commences.  The  FIRST  MAN  comes  into 
the  foreground^  and  a  little  later  the  FOUR 
GIRLS  join  him  in  dancing.  The  dancing 
has  four  movements^ 

[First:  It  is  dawn.  This  dawn  is  in  a 
city  where  the  courtesans  dance  their  last; 
and  the  people -,  used  to  keeping  late  hours , 
displeased  at  the  advent  of  the  dawn,  take 
their  last  fill  of  pleasure.} 

[  Second:  It  is  noon.  Five  SLAVE  GIRLS 
enter  R.y  bringing  trays  full  of  flowers  and 
wine  glasses.  They  stand  aside.  THE 
DANCERS  execute  movements  to  portray  the 
noonday  lassitude  that  generally  overtakes 
voluptuaries .  They  drin  k  cool  drin  ks  and 
shred  the  flower  petals  and  throw  them 
away  in  sprays.] 

[  Third:  It  is  afternoon.  They  are  pre 
paring  themselves  for  the  orgies  of  the 
night  that  is  coming.} 

[THE  SLAVES  serve  wine  while  the  next 
movement  commences.] 

[30] 


Layla-Majnu 

[Fourth:  It  is  night.  They  dance  the 
dance  of  pleasure.  It  is  the  kindling  of 
the  senses  —  the  consummation  of  every 
thing  by  plunging  all  into  an  abyss  of 
purple^ 

{As  the  dance  ends,  THE  AMIRS  applaud; 
the  SLAVE  GIRLS  nod  approval;  MAJNU 
stands  up,  does  not  clap;  goes  to  the  win 
dow  and  looks  out,  then  comes  back  slowly. 
'The  rest  of  them  talk  to  one  another,  not 
aloud,  while  the  SLAVE  GIRLS  serve  wine. 
LUTFA  looks  up  at  MAJNU,  who  is  leaning 
against  the  divan  from  behind^ 

MAJNU 
Dance,  Lutfa!     Dance! 

[  All  look  at  him  and  at  her,  then  at  the  other 
dancers.  LUTFA  begins  to  dance.  MAJNU 
is  looking  out  of  the  window  at  the  calm  of 
nature  without.  LUTFA  dances  the  fire  of 
passion,  of  the  calm  of  the  soul.  'The 
passions  and  the  soul  are  at  strife.  It  is 
the  dance  of  a  struggle,  fbe  other 
dancers  are  about  her  and  supplement  her. 
MAJNU  is  drawn  by  it  from  his  contem 
plation  of  nature.  He  is  simply  trans 
fixed;  so  are  THE  AMIRS.  Passion  becomes 
victorious  over  the  soul,  The  dance  is 
completed.  They  applaud.  Noise  with- 


Layla-Majnu 

out:  a  woman  and  a  man  screaming  and 
shouting.  With  the  ceasing  of  the  noise 
of  applause,  the  noise  without  ceases. 
MAJNU  goes  up  to  LUTFA  and  leads  her  by 
the  hand  to  one  of  the  divans.  The 
orchestra  resumes  playing.  The  OTHER 
DANCERS  begin  to  dance.  THE  SLAVES 
join  in.  LUTFA,  MAJNU  and  THE  AMIRS 
watch  them  from  near  the  windows.  This 
is  the  dance  of  languishing  passion.  It 
expresses  itself  through  half  repose  and 
half  movement.  It  is  not  the  debasement 
of  the  human  sou!,  but  that  moment  of 
forgetfulness  when  the  soul  identifies  itself 
with  the  senses  and  loses  all  desire  to  open 
itself  to  higher  influences  that  uplift} 

[  The  dance  ends  with  a  burst  of  applause 
from  all  but  MAJNU,  who  is  not  much 
impressed.  He  leaves  LUTFA,  who  goes  to 
the  other  dancers;  and  then  he  goes  to  the 
window  and  looks  out.  Noise  from  with 
out  as  at  the  close  of  LUTFA'S  dance.  It 
ceases  with  the  applause  as  before} 

EUNUCH  {Without  L} 

The  court  singer. 

[MAJNU  turns  around.  Enter  a  white- 
bearded  old  man  in  a  white  turban  and 
costume} 

[32] 


Layla-Majnu 

MAJNU 
Alekam,  Baba! 

SINGER  [Saluting] 

At  your  service,  Jahanpana. 

V 

MAJNU 

You  have  been  long  coming,  Baba. 

SINGER 

I  was  singing  the  Emperor  [  at  which  word  they 
almost  wince,  and  look  at  him  with  attention  ] 
to  sleep. 

MAJNU 

He  is  better,  then  ? 

SINGER 
Yes;  he  is. 

MAJNU 

Sovan  Allah!     Sing,  Baba,  sing;  I  want  to  rest. 

[  They  all  cease  talking  and  scatter  about  the 
room  noiselessly.  LUTFA  goes  near  MAJNU 
and  stands  by  him.  Some  of  the  dancers, 
being  tired,  sit  on  the  floor,  here  and  there  \ 

SINGER 

What  shall  I  sing,  Janab? 

[33] 


Layla-Majnu 

MAJNU 

Sing  the  song  that  soothes  and  calms. 

SINGER 

[  Melancholy  Oriental  strain  ] 
The  moon  with  the  stars 

Holds  her  tryst: 
The  rose's  lips  redden  with  each 

Amorous  kiss, 
That  blushingly  she  slowly  gives 

To  the  wind's  lips, 
Not  to  bring  them  to  her  lover  nightingale 

Who,  oh  - 
Faithless  like  her,  sings  of  his  love 

For  another. 

The  moon  and  her  dear,  smiling  stars, 

Their  pure 
And  serene  eyes  twinkle  not  to 

Reproach  her; 
They  know  ere  the  sun-glow  limns 

The  East 

With  rose's  blushes, 
His  broken  heart  will  cease  to  beat 

With  her  numb  petals  falling  each  by  each. 

[  As  the  song  ceases  they  applaud.     This 
time  there  is  no  noise  without  \ 

MAJNU 
Sing  another,  Baba. 

[34] 


Layla-Majnu 

[  'They  all  drink  wine,  served  by  the  slaves. 
'The  musician  does  not  take  the  profered 
wine.] 

SINGER: 

The  morning  star, 

Like  a  beacon  afar, 

Signs  the  sun  from 

The  night's  dark  bourne 

To  dawn's  waveless  harbor. 

The  cheery  shore-land 

Sings  its  awakening  welcome; 

The  green  silent  woodside 

With  bowed  head  abides 

To  do  him  honor,  the  golden  sun. 

[  Hardly  have  they  ceased  applauding,  when 
there  enters  an  EUNUCH  Z,.] 

EUNUCH 
The  Emperor  sends  for  the  court  singer. 

MAJNU 
He  was  asleep! 

EUNUCH 
Just  awakened  with  pain 

SINGER 

I  have  to  go,  Jahanpana. 

[351 


Layla-Majnu 

MAJNU 
Alekam,  Baba! 

[  Exeunt   L.    SINGER   and   EUNUCH,   after 
saluting  MAJNU.] 

MAJNU  j-  ro  LUTFA  j 

Will  you  dance  now?     Dance  the  dance  of  night. 
Dance. 

[  LUTFA  smiles  at  him  coquettishly,  then 
dances.  The  other  dancers  supplement 
her.  It  is  the  dance  of  passion  trium 
phant.  It  is  not  brutal,  but  at  times  cruel. 
It  is  sensual  but  not  vulgar.  It  is  the 
dance  of  passion  that  is  trying  to  become 
self-conscious,  trying  to  be  majestic  like 
the  soul  and  failing  inevitably.  Its  volup- 
tousness  is  taken  for  its  supreme  victory. 
It  is  weary;  it  is  half -hopeful,  yet  it  is 
strong.  Its  languor  is  its  power.  Its 
slow  movement  is  its  realforcefulness.  It 
is  passion  that  does  not  have  any  purpose, 
afraid  of  its  own  monotony,  yet  tri 
umphantly  moves  on,  as  if  afraid  to  stop. 
'Towards  the  last  steps  of  the  dance,  the 
same  noise  is  heard  from  without  R.y 
resembling  the  quarrel  between  a  man  and 
a  woman.  The  end  of  the  dance  is  some 
what  awkward,  as  a  SLAVE  GIRL,  evidently 
a  beautiful  Circassian  maiden,  half- 

[36] 


Layla-Majnu 

dressed,  enters  R.y  as  if  pursued  by  some 
one.  Her  scream  is  followed  by  a  mans 
voice  shouting  without  R.  He  follows  her 
on  with  a  scourge  in  his  hand.  The  man 
is  an  ARAB  EUNUCH.  THE  GIRL  fall 's  at 
MAJNU'S/^/,  afraid  and  suppliant '.] 

MAJNU 
What  is  this,  in  my  palace? 

EUNUCH 
She  has  been  dancing  and  neglecting  her  duty. 

MAJNU 
Dancing!     Does  she  know  how  to  dance? 

EUNUCH 

Jahapana,  I  don't  know.  She  left  her  sword  by 
the  door,  instead  of  keeping  watch.  She  danced 
every  time  Lut — er — er —  dancing  was  going 
on  here.  [  'They  all  look  at  THE  SLAVE  who  is 
lying  at  MAJNU'S/^/.]  I  forbade  her  twice,  yet 
she  danced.  I  am  going  to  scourge  her. 

MAJNU 
Scourge  her? 

EUNUCH 
Yes.     She  is  but  a  slave. 

[371 


Layla-Majnu 
MAJNU 

Slave!     Isn't  a  slave  human? 

[  The  EUNUCH  bows  bis  head.} 

MAJNU 

Go;  I  will  attend  to  scourging  her. 

[  He  stretches  his  hand  to  raise  her.     Exit 
EUNUCH  after  an  elaborate  salaam.] 

MAJNU  [  ro  TH£  GIRL  j 

Arise. 

SLAVE   GIRL  j  R^s  j 

Jahapana 

MAJNU 

Why  were  you  dancing? 

SLAVE    GIRL 

The  dancing  here  was  so  different. 

MAJNU 
Different!    What  do  you  mean? 

SLAVE   GIRL 

[  They  all  gather  round  her  and  watch  her 
with  great  interest^ 

[38] 


Layla-Majnu 

In  the  mountains,  people  dance  so  differently. 
At  home,  we  dance  like  the  stars  that  are  like 
the  soul  moving  through  the  heavens. 

MAJNU 
Dance  like  stars  that  are  like  the  soul? 

LUTFA 
Could  you  dance  now? 

MAJNU 
Do  you  dance  well? 

SLAVE    GIRL 

I  do  not  know. 

OTHERS 

[  Confusion  and  noise  ] 
Dance!     Dance  at  once.     Dance! 

MAJNU 

Dance,  then. 

SLAVE    GIRL 

Someone  will  have  to  sing 

MAJNU 
Sing  what? 

[39] 


Layla-Majnu 

SLAVE   GIRL 

Sing  of  light,  of  death,  and  the  soul  that  flies  like 
a  bird  lost  beyond  the  clouds,  into  the  heavens. 

[  They  all  look  puzzled.} 

MAJNU 

The  court  singer no 1  may.     I  will  try  to 

sing.     Dance. 

[  The  gathering  becomes  much  interested.} 

[  During  the  following  dance  MAJNU  sings 
halfway  or  so,  a  wordless  melody ',  then  as 
the  soul  element  enters  into  the  dance- 
theme  his  voice  lowers  and  gradually  fades 
into  silence,  The  SLAVE  GIRL  bows  to 
him>  then  dances.  It  is  at  first  a  torture 
of  mind  and  body.  The  body  is  intoxi 
cated  with  its  own  exuberant  volup 
tuousness.  The  senses  triumph,  although 
they  are  unable  to  hold  themselves  together. 
Everything  seems  to  disintegrate  under  the 
pressure  of  this  struggle  between  mind  and 
body.  The  body  could  hardly  stand  any 
more.  Then  a  numbness  sets  in.  The 
soul  renascent  asserts  itself.  The  body 
submits  to  the  soul.  The  other  dancers 
come  and  compliment  the  SLAVE  GIRL. 
The  movement  increases  intensely  and 
gradually  in  rapidity.  The  soul  is  win- 

[40] 


Layla-Majnu 

ning.  The  body,  hitherto  wearied,  now  as 
if  reinforced,  makes  a  supreme  effort  to 
stir  the  success.  But  the  soul  wins.  The 
soul  leaves  the  now  tired  body  and  flies 
into  diaphanous  regions  whence  it  came. 
There  are  but  few  movements  now.  The 
spirit  has  rediscovered  itself.  The  ulti 
mate  is  reached.  The  lights  grow  dim. 
Vague  light  of  dawn  enters  the  room 
through  the  windows.  Faint  noise  from 
without  R.  waxes  louder  and  louder. 
MAJNU  gives  a  start.  Looks  R.  From 
without  R.  a  heavy  voice  says: 

The  Emperor  is  dead! 

[  MAJNU  appears  as  if  stunned.} 

[  With  those  words,  a  low,  weird  roll  of  a 
drum  and  a  faint  sound  of  a  trumpet  are 
audible  from  without.  The  dance  ends 
slightly  awkwardly.} 

MAJNU       [  Half  consciously  } 
Dead! 

[  The  party  commences  to  leave  in  silent 
haste.  MAJNU  looks  at  the  vague  light  of 
the  dawn.  Hardly  have  they  all  (except 
the  SLAVE  DANCING-GIRL)  gone  off  the 
stage  R.  and  L.,  when  enters  COURT 
SINGER  L.,  with  a  stringed  instrument  in 
his  hands.  The  instrument  has  broken 
strings.} 


Layla-Majnu 
MAJNU 

[  Perceiving  him;  eagerly,  almost  rushing  to 
the  old  man.} 


Baba—     Dead? 


COURT  SINGER  points  to  the  instrument. 
Both  of  them  now  see  the  SLAVE  DANCING- 
GIRL.  She  bows.  MAJNU  can  find  no 
words  to  say  to  her.  'The  COURT  SINGER 
gently  strokes  MAJNU'S  head  with  his  right 
hand.  With  the  accompaniment  of  almost 
inaudible  music,  the  SLAVE  GIRL  bows  to 
the  dawn.  Hardly  has  she  finished  bow 
ing,  when  the  roll  of  the  drum  without 
waxes  louder.  MAJNU  is  deeply  per 
turbed;  tries  to  control  himself.  Another 
roll  of  drums. 

'The  dawn  is  vague  and  shadowy.  A  noble 
man  does  not  like  to  show  his  emotion. 
Hence  MAJNU 's  grief,  if  expressed,  should 
be  in  a  subdued  fashion.} 

[  CURTAIN  ] 


ACT  III. 

SCENE:  Five  years  have  passed.  First  flush  of 
dawn.  The  stage  looks  like  a  playground  of  fantastic 
shadows.  As  with  the  progress  of  the  sunrise  the 
shadows  dance  out  of  sight,  a  lake  like  that  of  the 
first  act  is  revealed,  with  a  background  of  green  trees, 
surrounding  a  cottage  with  thatched  roof.  Masses  of 
flowers  R.  and  L.  There  are  broad  marble  steps 
leading  down  into  the  lake.  One  long,  winding  path 
right  and  another  from  the  left  lead  to  the  steps. 
Morning  melodies  are  being  played  on  a  flute  from 
without  R. 

[  As  the  shadows  disappear  completely,  enter 
LAYLA,  with  a  pitcher  on  her  head,  hum 
ming  a  melody  that  is  in  tune  with  the 
music  of  the  flute.  As  she  goes  down  the 
steps  to  fill  the  pitcher,  she  vanishes  from 
sight.  Just  at  that  moment,  a  mans 
voice,  singing,  is  heard  from  across  the 
lake,  supposedly  from  under  the  thatched 
roof.} 

THE  SONG: 

The  sun,  radiant,  embraces  the  earth  with  a 

Thousand  golden  arms, 
Like  a  mother  that  findeth  her  lost  child 

After  a  lifelong  search. 

[43] 


Layla-Majnu 

The  trees  shed  their  tears  of  dew  in  sheer 

Joy  and  love. 

Oh!     To  see  such  a  meeting:  to  love  like  the  sun! 
To  be  found  like  the  earth. 

[  LAYLA  is  supposed  to  fill  her  pitcher  during 
the  song.  Enter  JESTER  Z,.,  stealthily. 
He  peeps  into  the  lake;  theny  as  the  song 
ceases,  hurries  off  the  stage  L.  LAYLA 
now  comes  up  the  steps  with  the  filled 
pitcher  on  her  head.  Exit  LAYLA,  hum 
ming,  tfhe  flute  plays  again  as  before. 
Enter  TWO  DERVISHES  singing  in  tune 
with  the  flute :\ 

What  was  writ  has  come  to  pass,  like  the  sun 
Leading  the  hosts  of  light  from  dark  to  dark; 

What  is  done 
Lives  on.     Who  can  stop  Destiny's  hand, 

Gaunt  and  grim, 
Moving  ceaselessly  on  the  dial  of  time, 

Desolate,  dim? 

[  Exeunt  L.     Flute  plays  on.] 

[  Enter  LAYLA  with  an  empty  pitcher.  She 
is  singing  in  tune  with  the  flute.  She  goes 
down  the  steps  to  the  lake.} 

What  play  this?  the  sun  and  the  breeze 
Make  merry,  merry  with  the  rose. 

The  rippling  waters  cry  or  laugh  —  I  know  not. 
The  birds  sing  sweet  and  happy; 

[44] 


Layla-Majnu 

My  heart  melts  into  tears,  I  know  not  why; 

What  play  can  this  be! 
The  laughter  of  the  lake  and  the  breeze, 

While  the  tears  fill  my  eyes? 

[  Toward  the  end  of  this  song,  she  reaches  the 
bottom  step  and  thus  vanishes  from  sight. 
From  without  R.  a  mans  voice  sings:} 

Giving  is  God's:  the  giver  giveth, 

As  God  giveth:  the  giver  giveth  God's  gift. 

[  LAYLA  comes  up  the  steps  with  a  full  pitcher 
and  goes  of  R.  The  song  is  going  on 
from  without  R.,  when  MAJNU  and  JESTER 
enter,  almost  simultaneously  with  the 
ceasing  of  the  song.] 
JESTER 

I  saw  her  there  filling  a  pitcher. 

MAJNU 

There  -  [  Perceiving  the  entrance  R.  of  SHAH 
ALAM,  whom  MAJNU  cannot  recognize  owing  to  the 
former  s  gray  beard,  long  gray  hair,  and  oldish 
features  as  well  as  gait.}  Have  you  - 


SHAH    ALAM 
J  _ 

JESTER 

Have  you  seen  a  - 

[45] 


Layla-Majnu 

SHAH    ALAM 

[  Aside  thoughtfully  ] 
Allah!    He  looks  like  Majnu. 

JESTER 
Do  you  hear? 

MAJNU 

Who  are  you? 

SHAH   ALAM      [  faking  eourage] 

What  are  you  seeking  here? 

JESTER 
We  are  seeking  for  Lay 

MAJNU 

What  is  your  name? 

SHAH    ALAM 

A  poor  beggar  has  no  name. 

MAJNU 
Are  not  beggars  named? 

SHAH    ALAM 

But   they  always  call   them  beggars;  so  in   the 
course  of  time,  they  forget  their  names. 

[46] 


Layla-Majnu 

MAJNU 
Do  you  know  who  lives  in  yonder  cottage? 

[  Points  across  the  lake  to  the  background} 

JESTER 
Does  Layla  live 

MAJNU 

[  After  eyeing  THE  JESTER  angrily  ] 

Have  you  ever  seen  anyone  here  who  may  be  in 
hiding? 

SHAH    ALAM 

[  As  calmly  as  possible  ] 
Some  say  a  prince  is  hiding  there. 

JESTER 
Ah!    ShahAlam 

MAJNU 

[  Stopping  him  with  a  glance  ] 
What  is  his  name? 

SHAH   ALAM 

I  do  not  know;  a  beggar  knows  only  the  alms  he 
is  given,  and  not  the  giver  of  them  who  is  Allah. 

[47] 


Layla-Majnu 

MAJNU 
Is  there  anyone  else  with  him  there? 

SHAH    A  LAM 

Why  do  you  ask  these  questions,  traveler?     Do 
you  have  to  know  everything? 

JESTER 
We  want  to  find  Shah  Alam  and 

MAJNU 

Dervish,   have   you   ever   heard   whether   prince 
Shah  Alam  be  alive? 

SHAH    ALAM 

[  With  perfect  calm  ] 

He  may  be  alive,  but  it  may  be  a  living  death 
that  he  lives. 

MAJNU 

Does  the  prince  that  lives  there  look  like  him? 

SHAH   ALAM 

I  never  can  tell.     I  saw  prince  Shah  Alam  but 
once;    that  was  when  he  was  protecting 

MAJNU 

Protecting  whom  ? 

[48] 


Layla-Majnu 

JESTER 
Yes,  yes! 

SHAH  ALAM  \  Alarmed  \ 

Two  helpless  women. 

MAJNU  [  fQ  JESTER  ] 

Shah  Alam  protecting  helpless  women  ? 

JESTER 

Even  I  cannot  think  of  a  jest  like  that. 

SHAH    ALAM 

Is  he  not  a  prince? 

JESTER 

Yes;  a  very  cruel  one.  How  can  that  heart  of  his 
pity  and  protect  anyone? 

SHAH    ALAM 

Do  you  not  jest,  my  sir?  What  do  you  know  of 
the  human  heart?  If  you  had  suffered  as  he, 
had  you  suffered  like  a  beggar,  as  I,  you  would 
not  say  that.  That  prince  might  have  been 
cruel  and  cunning  once,  but  the  miracle  of  Allah 
might  change  even  him. 

[49] 


Layla-Majnu 
MAJNU 

If  he  is  changed  and  his  heart  has  seen  the  way  of 
Allah,  why  does  he  hide  with  two  women? 

SHAH    ALAM 

Since  a  man  has  lost  a  kingdom,  every  hope,  the 
things  that  he  thought  to  be  the  greatest,  have 
proved  to  be  nothing!  Why  should  he  not 
hide?  There  is  a  price  on  his  head.  If  Majnu 
had  a  little  heart,  he  would  not  pursue  Shah 
Alam  from  one  hiding-place  to  another,  till  he 
is  wearied,  ill,  and  willing  to  give  himself  up  to 
the  headsman. 

MAJNU 
I  will 

JESTER 

Show  us  where  he  is. 

SHAH   ALAM 

So  that  you  can  take  his  head,  and  get  the  price  — 

money 

MAJNU 

If  he  is  what  you  say,  I  will  forgive  him. 

SHAH    ALAM 

Who  are  you? 

[50] 


Layla-Majnu 

JESTER 
Oh,  he  is 

MAJNU  [  Calmly  ] 

I  am  Majnu. 

JESTER 

The  king! 

SHAH    ALAM 

I  am  Shah  Alam! 

[  MAJNU  and  JESTER  are  taken  aback.] 

MAJNU 

Sha— h  A-l-a-m! 

SHAH    ALAM 

Do  you  not  recognize  me,  brother? 

JESTER 

Why,  people  say  you  are  dead! 

SHAH    ALAM 

There  are  no  dead.     How  are  you  searching  for 
me,  if  I  am  dead? 

MAJNU 

Wild  rumors.     How  old  you  look! 


Layla-Majnu 

SHAH    ALAM 

Five  years  are  no  short  time  when  a  man  has  to 
seek  a  new  place  of  safety  every  day.  When 
death  stares  one  in  the  face  —  as  it  has  been 
with  me  these  five  years  —  one  ages  fast.  A 
man  comes  to  death's  door  quicker  by  avoiding 
death. 

[  With  the  beginning  of  the  following  songy 
MAJNU  gesticulates  as  if  be  recognized  the 
voice.  He  is  assailed  by  doubt  and  belief 
in  turn.  A  conflict  is  raging  within  him.] 

[  From  without  R.}  LAYLA'S  voice  is  heard 
singing.} 

Sorrow,  you  say,  spreads  her  wings 

To  envelop  my  being! 
Joy's  chariot  wheel's  roll  I  hear 

On  the  pavement  of  my  dream. 
Sad  this  hour,  others  think  — 

Joy's  dawn,  I  seem  to  see, 
On  the  brink  of  love's  eternity. 

MAJNU 
[  Speaking  simultaneously  with  the  song.} 

A  dream,  is  it?  Who  can  this  be?  The  cry  of 
my  soul  I  hear!  Who — is — she — oh! 

[  Enter  LAYLA  R.  with  the  last  words  of  her 
song.  She  has  a  pitcher  with  her.] 


Layla-Majnu 

MAJNU 
Layla! 

JESTER 

Lay — 1- 


LAYLA  stops  short,  speechless.} 

MAJNU 

Shah  Alam,  you  have  lost  a  kingdom  but  have 
found  Layla,  whom  all  the  kingdoms  of  earth 
cannot  match. 

SHAH    ALAM 

[  Signing  LAYLA  to  come  nearer  ] 
You  wrong  me,  brother. 

MAJNU         [  Almost  furious  ] 

Wrong  you?  Would  not  anyone  give  up  king 
doms  for  her?  Ah,  you  are  a  true  lover  — 
content  to  live  as  a  beggar  if  you  have  her. 

SHAH    ALAM 

I  am  a  beggar. 

MAJNU 

Beggar  to  whom  love  has  been  given  as  alms.  Ah, 
my  fate!  Allah! 

[  LAYLA  and  JESTER  in  consternation ,  do 
not  know  what  to  do.] 

[53] 


Layla-Majnu 

SHAH    ALAM 

[  Putting  his  hand  on  MAJNU'S  shoulder :] 
Majnu,  you  can  have  Layla. 

MAJNU 

Marry  my  brother's  wife?  You  talk  like  a  holy 
dervish. 

SHAH    ALAM 

Do  not  hurt  me,  brother.     Layla  is  not  my  wife. 

MAJNU 

Not  your  wife?     How  is  she  living  with  you? 

SHAH    ALAM 

Let  me  tell  you  all.  Come  here,  Layla;  bear 
witness  to  this.  In  the  time  of  war,  when 
death  and  devastation  were  reaping  their  har 
vest,  I  was  defeated,  and  took  shelter  under  the 
roof  of  Layla's  mother.  They  needed  a  man's 
protection,  and  I  needed  them.  I  have  begged 
to  keep  them  and  myself  alive,  but  it  was  a 
mother  and  sister  that  I  was  protecting. 

MAJNU 
Allah! 

SHAH    ALAM 

Majnu,  you  won  the  kingdom  from  me. 

[54] 


Layla-Majnu 

MAJNU 
I  do  not  want  the  kingdom. 

SHAH    ALAM 

I  did  not  give  you  the  kingdom.  I  will  give  you 
Layla.  Take  her  with  love. 

[  He  takes  LAYLA  by  the  right  hand  and  joins 
it  to  MAJNU'S.] 

MAJNU 

[  'Taking  her  other  hand  with  his  ] 
Do  you  give  her  to  me? 

SHAH    ALAM 

She  loves  you. 

MAJNU 

Layla!  [She  looks  down  and  blushes .]  Shah 
Alam,  this  gem  of  gems  [  pointing  to  LAYLA  ], 
this  most  gracious  of  all  ornaments,  this  most 
wonderful  of  kingdoms,  has  no  equal.  Layla 
alone  can  equal  Layla.  You  ask  me  to  take 
her  with  love;  how  poor  my  love  is  when  I  com 
pare  it  with  the  silent  love  that  has  grown  from 
a  drop  into  a  sea  in  the  solitude  of  her  heart. 
Oh,  Layla!  Layla! 

JESTER 
It  is  going  to  be  a  mad-day  instead  of  midday. 

[551 


Layla-Majnu 

SHAH    ALAM 

Majnu 

MAJNU 

Brother,  my  soul  is  filled  to  overflowing.  What 
can  I  give  you  in  return  for  what  you  have 
given  me?  You  fought  for  the  kingdom  once; 
take  it  from  me  with  the  same  love  that  has 
made  you  give  me  Layla.  You  will  be  a  just 
and  righteous  king. 

SHAH    ALAM 

I  take  the  kingdom? 

MAJNU 

Yes.  Ghor,  Bonair,  Maust,  Kandahar,  the  vine 
yards  of  Charut,  wheat-yielding  plentiful  Maust, 
the  city  of  Balkh  with  its  shawl  trade,  the 
Mosque  of  Aziz,  and  the  paradise  city  sur 
rounded  by  the  green  hills  where  the  spring 
comes  the  earliest  and  the  winter  is  shortest: 
I  ask  you  to  take  them.  They  are  not  mine. 
The  crown  jewels  that  have  been  won  through 
fifty  wars  in  the  past  three  hundred  years;  the 
marble  city  of  our  capital,  all  the  slaves,  the 
great  army,  dancing  girls  bought  with  their 
weights  of  pearl  and  gold,  and  the  musicians 
that  sing  the  best  in  the  world  —  they  are  all 
yours.  Say  yes,  and  the  herald  will  announce 

[56] 


Layla-Majnu 

through  his  trumpet  made  of  molten  gold  and 
silver,  inlaid  with  ruby  and  diamond:  that  from 
tomorrow.  Shah  Alam  will  be  the  Patishah,  the 
Emperor.  Take  it,  brother;  I  give  it  to  you. 

SHAH    ALAM 

[  As  if  resisting  a  temptation  ] 
No,  not — 

LAYLA 

Are  you  ill,  brother? 

MAJNU 
Shah  A-l-a-m 

JESTER 

[  Perplexed  ] 

Bismillah! 

SHAH    ALAM 

I  do  not  want  it;  I  do  not  want  it. 

MAJNU 

I  will  be  happy  with  Layla  in  a  beggar's  cottage. 
I  want  to  make  you  happy.  Give  me  an  oppor 
tunity 

SHAH    ALAM 

I  have  found  my  kingdom 

is?] 


Layla-Majnu 

MAJNU  [  Eagerly  ] 

Accept  it,  then.     Do  you? 

SHAH    ALAM 

[  Triumphantly  pointing  to  his  own  heart  ] 

Oh,  my  kingdom  is  not  there;  it  is  here,  brother. 
Allah  is  my  king,  and  I  his  humble  slave.  Ho, 
Allah! 

MAJNU 

You  will  not  take  it? 

SHAH    ALAM 

No.  You  may  be  happy  in  a  cottage  with  Layla, 
but  she  will  be  happiest  in  a  palace.  Why 
take  away  that  happiness  from  her? 

LAYLA 
[  She  cannot  speak  further  ] 

SHAH    ALAM 

I  do  not  need  it;  I  do  not  want  an  empire.  The 
free  sky,  the  green  earth,  the  whole  world  is  my 
kingdom  now.  All  men  and  women  are  my 
brothers  and  sisters.  His  rain  will  bathe  my 
head  and  His  sun  will  keep  me  warm.  The 
lakes  with  their  silver  surface  will  serve  as  mir 
rors  to  my  worn-out  expression;  and  my  dress 

[58] 


Layla-Majnu 

will  be  that  which  His  servants  alone  wear:  the 
beggar's  tunic.  Oh,  I  am  free!  Layla,  sister, 
be  happy  as  the  Papia  that  sings  to  the  dawn; 
and  noble  as  the  peacock,  that  queen  of  the 
sunset  hour  strutting  majestically  on  the  marble 
wall  of  the  Capital.  Happy,  happy,  happy; 
everything  speaks  of  happiness:  I  have  found 
my  kingdom.  Majnu,  grant  me  a  boon. 

MAJNU 
It  is  granted. 

SHAH    ALAM 

Some  day,  when  the  children  come,  teach  your 
sons  to  love  their  brothers.  Jealousy  that  made 
us  so  cruel  to  each  other,  let  it  be  banished  from 
your  kingdom;  let  love  be  the  law  in  your 
palace  as  well  as  everywhere  in  the  empire. 
Then  grant  me  this  boon,  too,  before  I  depart. 
And- 

MAJNU    AND    LAYLA 

Where  are  you  going? 

SHAH    ALAM 

Calm  yourselves.  I  intend  to  make  a  pilgrimage 
to  Mecca 

[  They  all  make  a  short  bow  as  they  bear  the 
word  Mecca.] 

159] 


Layla-Majnu 

MAJNU 
What  else  can  we  do?    One  more  thing? 

SHAH    ALAM 

If  you  please,  from  this  day  on,  call  your  Capital 
The  City  of  Layla-Majnu,  which  means  selfless- 
love. 

JESTER 
Ho,  Layla-Majnu,  Layla-Majnu! 

SHAH    ALAM 

[  Proceeding  to  go  R.] 
Majnu-Layla! 

MAJNU 

Will  you  not  come  to  our  wedding? 

SHAH    ALAM 

Are  not  your  souls  married?  I  will  go  to  Mecca 
now.  On  my  return,  Allah  willing,  I  shall  come 
to  see  you.  I  am  now  a  Dervish,  Allah's  eternal 
servant.  I  live  at  His  will,  in  His  eyes. 

MAJNU 

In  your  eyes  we  are  married.  You  are  the  priest 
of  Allah  who  has  joined  our  hands  in  marriage. 
Give  us  your  blessing. 

[6ol 


Layla-Majnu 

SHAH    ALAM 

[  Going  to  the  extreme  end  of  the  stage  R., 
turns  around,  faces  them,  raising  his  arms 
in  benediction.} 

GalSovan  Allah :     Illahi  II  lil  la :     Allah  ho  Akbar ! 
[  Music.] 

[  The  sun,  shining  on  him  from  behind, 
almost  transfigures  him.  MAJNU,  LAYLA 
and  JESTER  kneel,  and  bow.  SHAH  ALAM 
proceeds  to  go  off  R.;  his  face  to  the  light, 
that  smites  the  two  tear-drops  from  his 
eyes  into  almost  iridescent  lustre^ 

[  CURTAIN  ] 


[61 


HERE  ENDS  THE  MUSICAL  PLAY  "LAYLA  MAJNU"  BY 

DHAN  GOPAL  MUKERJI,  WITH  ANT  INTRODUCTION  BY 

ARTHUR  UPHAM  POPE.    PUBLISHED  IN  BOOK  FORM  BY 

PAUL  ELDER  AND  COMPANY  AT  THEIR  TOMOYE  PRESS 

UNDER  THE  DIRECTION  OF  HERMAN  A.  FuNKE  IN  THE 

CITY  OF  SAN  FRANCISCO  DURING  THE  MONTH  OF 

APRIL,  NINETEEN  HUNDRED  AND  SIXTEEN 


291133 

MAR  29  193 


9 


cntc 


U.C.BERKELEY  LIBRARIES 


332741 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


